The relationship between information and
political project forms the basis of the work of
Angie Bonino. The artist’s work is based on the
contradictions that crosses political modernity
and especially, the Nation-State’s demiurgic
project that aims to create a shared reality for
a territory and it’s people. Among the obstacles
to this desire, the transnational dynamics of
the capitalist system has a central position by
producing a strong uncertainty about the place
and form of the political power.
In this framework, information overload has
favoured the emergence of the figure of
conspiracy, which constitutes the basis of
Angie Bonino’s approach by questioning the
relevance of the official story and its method of
production, based on a political ontology that
focuses on the existence of a doubly distributed
reality: the reality of surface and a reality
that connects a series of clues and evidence
to be placed on a totally different plane of
existence. The portraits of key characters are
placed in the exhibition installation showing
the relationship between the official and the
unofficial: the faces of Jean-Claude Trichet,
former Governor of the Bank of France and the
European Central Bank, the desperate faces
of a few traders of the crash of 2008 and
the portrait of Assange focuses the project on
the displacement of the institutional narrative,
generated by the reconfiguration of reality by
alternative voices.
The meticulous work of collected information
involved in the work of Angie Bonino is no
stranger to popular research techniques of
black novels and espionage novels. She takes
the survey individually and continuously,
to discover a hidden reality: coherently
merging this process between different works,
paintings, graphics and new media, is led by
the permanent distrust of the detective being
the emblem of literature. The pieces due to a
documentary requirement, present one or more
of the different elements interconnected in the
work process and evidence that might expose
the reality of power. Each piece thus becomes
a sign of suspicion.
Homesession’s installation alludes to the
democratization of the story and the
contestation of a uniform reality. New
information technologies have contributed
to blur sources and contours of information,
which enables institutions to deploy biopolitical construction strategies of reality.
However, these same technologies also

offer the possibility to spread and circulate
these alternative narratives. Now, if there
are conspiracy accusations and counteraccusations to surrender to theories of the
plot (to reach the psychiatric diagnosis of
paranoia), it is precisely by social asymmetry
that exists between the different productions of
reality and the control of legitimizing instances.
The project of Angie Bonino emphasizes this
with the installation of two stands. In one
of them, a microphone in front of a screen
makes us think of the press conference by the
president of the current Government, organized
by distance and without questions: the
collocation of the microphone, however, clearly
alludes to the contraposition of the speeches
and the inequality of their mode of circulation.
The second stand complements this approach
with a screen, where diagrams, drawings and
schemes detail in a didactic way the content of
the work itself denouncing the official story by
the artist.
That work gives shape to a permanent
research, Angie Bonino deploys a militant
space setting it into relations of positions,
speeches and intentions, it’s objective is to
oppose “the grammar of normality”, a series
of rules that makes the only legitimate official
speech to deal with reality on a large scale.

Art is one of the aspects of the culture
in which, more than in others, thins the
distinction between the sphere of the plural
and the individual. Manages to be individual
and collective at once, stating on the universal
plan from the personal and intimate status of
the artist. Therefore the true art has often been
misunderstood, rejected and even persecuted:
for resulting subversive and revolutionary,
furthermore than by its intellectual content, by
its own language and its ability to intervene,
whether ironically or severely, in the dominant
discourse grammar and “subvert” it. In this
the artist is distinguished from the theorist: he
synthesizes its analysis in the form of actions
or “things” rather than text or words.
In different contexts, art historicists and
critics have highlighted the political value
of the work of many contemporary artists,
positioning its work near to various actions of
a social nature and micropolitic1 resistance:
Chantal Akerman, Ann-Sofi Sidén, Andrea
Zittel, Nan Goldin, Jenny Holzer, Barbara
Kruger, Bruce Nauman, Cindy Sherman,
Larry Clark, Valie Export, Mike Kelley, Yayoi
Kusama, Paul McCarthy, Annette Messager,
Hélio Oiticica, Gina Pane, are just a few
and heterogeneous examples extracted
from dissimilar “times”. In the panorama
cited above, emerges as many of them use
all the media at their disposal, working in
a multidisciplinary direction, not closing
themselves on a specific genre, with a
common constant: the document.
Angie Bonino is part of this new contemporary
art scene. Her work has a strong
multidisciplinary, political and documental
component. Beside all this, we can not
forget to mention another focal aspect of
her aesthetic: multicultural and postcolonial
perspective, which leads to a strong criticism
of the U.S. and European centralism in
contemporary global culture, marked by her
interesting personal - apart than professional
- story2.
Angie was one of the pioneer artists of
Peruvian video art and the first woman to
make art with new technologies in Peru. Her
career developed from the late nineties through
an intense creative and curatorial activity
that sees her to use plastic arts, audiovisual,
performance, installation and Internet platform.
In her artistic production we can individuate
three main stages, which generally mark the
development of her career from the aesthetics

more “localist” and close to her native
country in the early years, to an overture in a
transnational sense, in the last decade.
During the first phase, which is positioned
between the mid and the late nineties, the
“identity” component is strong in her works:
many of her videos lead from own polical
facts and history of Peru. It is the first stage
of the blooming colors videos identified with
peruvian popular culture as La pared (1992),
Esquemas (1994) and No video (1997). Due
to the used style and subject matter, may also
be included in this first group, a work done
later, in 2007, entitled Yo quiero tener un
millón de amigos, which seeks to demystify
the idea of terror exercised by certain
historical icons of the peruvian reality, like
the stereotype image of the terrorist with the
black balaclava, which is still present in the
collective memory of the Peruvian population.
In a second phase, corresponding to the early
2000, these same facts will be “globalized”
through a formal language that uses different
codes and languages, which bring to the
her work an universal character. In the video
La Imagen (2000) this is obvious: the same
picture, repeated for a few seconds, shows
a group of soldiers in a tank and a water
cannon truck, together with the word “The
Image” in several languages. Suddenly
this sequence becomes the “Marcha de los
cuatro suyos en Lima”, the march against
the dictatorship of Fujimori in the 2000 and
the images show an older woman with open
arms and raised, who fearlessly faces the
tanker and its hydrant. The work refers to the
fact that the global images are indepent from
languages. Talks about abuse of power and
civil war against the dictatorship, including
the war of images. In this second phase, you
can also add the video installation One feet
in the ground (2000) made for Interferences,
Festival International d’Arts MutiMedia
Urbains / Belfort (France, 2000) and the work
entitled Habitar (2006), which makes evident
the problem of the house and the human
struggle to have a place to live in a territory.
Here, as in La Imagen, video recordings are
interspersed with typographic recordings,
and one word, “habitar”, appears in several
languages, metaphor for the concept of living
in any country in the world. As described by
the same artist:
“Something that contemporary man faces
in a globalized environment, in search of a

Then her work focuses mainly on the critical
analysis of the implications of science and
technology in a global society and poses
ethical issues relating to the mundial politics
and economy, and their relations with the new
media. As noted by José Carlos Mariátegui:

“Bonino then dedicated to communicate
dynamic forms which approach the media
culture in a dynamic relationship of change
and perception, by reassessing international
symbols and messages while remaining
critical of its content”4.
This applies to the Net Performance NO
LOGO (2007) made for the closure of the
Festival of Film and New Media of Montreal
(Canada, 2007), the video installation
New World Order (2008) and the video
performance Evanecer (2010). New World
Order gets is name from the title of the
book by Francis Fukuyama, State-Building:
Governance and World Order in the 21st
century, published in the 2004, where we
can see the model used for the development
of control and power in the current economic
system, looking to the future. In this video,
avatars appear and, referring to the
global state, speak in various languages
about the meaning of being immersed in
the aforementioned New World Order,
represented in the background by a picture of
the Wall Street market. The newest Evanecer,
slightly biographical, reveals a moment of
reflection:
“A woman goes through various situations in
a-sub real and introspective world, a refuge
from the politics of desire, dreams, fantasies,
with a load of libertarian longing, beyond
the limits of the feminine and territorial,
with a confrontation between reality and
imagination, where the second of the two
attempts to recreate the present with the ideals
and the utopia”5.
During the third and current phase of her
production, documented in the personal
exhibition at the Homesession exhibition hall
(Barcelona, 2013), entitled Following the
clues of a crime, the interest of Angie Bonino
shifts to the “Conspiracy Theory” used, in
clear relationship to her precedent artistic and
political imaginarium, as a metaphor for the
need for an alternative interpretation of the

recent history of globalization, provided by
the official discourse through the media.
Paradoxically, at this point in her artistic
trayectory, the technological interdisciplinarity
proper of her early career and already
explored in all its facets, turned to a
traditional and more simple expressive form:
the drawing and the figurative and narrative
painting in dialogue with the video image.
The pictorial component hints at a critical will
in the choice of the medium, almost to want
to denounce the complicity of technology with
the “criminal facts” that this exhibition shows.
The french curators of Homesession, Olivier
and Jerome Colett Lefaure argue:
“In this framework, the information overload
has favored the emergence of the figure of
conspiracy, which constitutes the basis of
Angie Bonino’s approach, by questionning
the relevance of the official story and its
mode of production. The artist takes on a
political ontology which relies on a reality
that would be distributed on a double
level: the official one, at the surface, and a
deeper level to which a serie of clues and
evidence could lead. The project “Following
the clues of a crime” gives a form to an
ongoing investigation through an activist
space that connects positions, speeches and
hidden intentions: it aims at counteracting
“the grammar of normality”, a set of rules
that promotes the official story as the sole
legitimate to deal with reality at a large
scale”6.
Following the clues of a crime is presented as
a work in progress project, a constant work
of collection of evidences and proofs, useful
data for the construction of an alternative
history, that takes the shape of an unfinished
puzzle, an archive of abstract images,
sound recordings, television and newspaper
documents, cryptic and hidden diagrams and
symbols, to introduce us to an almost mystical
vision of politics, in a frontier zone between it
and the religious thought.
During over twenty years of vigorous artistic
career, and in its various phases, Angie
Bonino has constantly cared, with a genuine
and honestly committed humanitarian attitude,
of shedding light on the injustices that the
periferic territories or the most helpless part of
the global society receive under the profiles
of improvement provided by technological
and economic progress. So she has left us a
cultural and critical legacy of great political,

In the current artistic and cultural creation
there is an increased number of voices
awakening with the interest to act as
loudspeakers to their work, through which
you can hear voices that are not usually
heard or done in a partial way.
They are conscious artists and creators
aware of the fact, that art has to be done
with a clear and effective commitment, that
it is not only a recreation of view, but also
of the mind. A construct that could act as a
“battering ram “ to our consciences.

We observe it from different parts of the
planet every day, how this commitment
arises, it could be perhaps Latin America
from where these voices are reaching us in
a clearer way. Artists like Enrique Ramírez,
Regina José Galindo, Beth Moyses, Teresa
Serrano, Priscila Monje, Ximena Cuevas,
Juan Carlos Alom, Alfredo Jaar and Angie
Bonino are working every day to make this
commitment happen.

From the Latin America cultural creation
it is not only territory, but also the tension
between the geographic and the cultural
border. Latin America has a unique history,
characterised by not always accepted
historical stages, that is why I think that these
artists strive so hard for denouncing the
political and social situation that prevails in
the region. Generally they work with a strong
social and political involvement, because
their reality demands it, and as artists from
that part of the world they feel involved with
their situation. Not only as artists but mainly
as citizens. Also, from a more formal point of
view, Latin Video Art is strongly performative,
perhaps because that goal or intention that I
mentioned requires it to be that way.

In the case of Angie Bonino (Lima, Peru,
1974 she lives and works between Lima
and Barcelona), her videos, actions and,
perhaps most especially her paintings show
her intention and commitment very clearly.
Digs for stories and news in the channels for
dissemination of information and in social
networks to build up a visual and theorical
corpus, in form of a social archivist, who
after a profound research of synthesis would
throw herself into a passion for guerrilla to
form a work that takes into account these
situations.

specific language, because it is obviously
a multidisciplinary work piece. If the art
work amongst others, is a communicative
approach, the success that its message
reaches the audience without any problem is
to choose the correct form for each type of
message. Therefore it is a multidisciplinary
work using resources, as I said, video,
performance, installation, social networks
and painting or drawing.

If work pieces, like the video Habitar
tackles difficult situations such as evictions,
in this case seen from the point of view
of “squatters”, the New World Order
broadcasts the news programs every day
making them sneak into our homes, almost
spitting into our faces thousands of everyday
problems that affect all of us, but having
them repeated so many times all over again
with the aseptic gaze of newscasters, they
have become so common that they have
come to anesthetize our consciences. Which
also implies a criticism to this kind of media.
On the other hand it is not new in her works,
because about ten years ago she built a
sculpture made of television tubes painted
in red and blue, where all of this could
have been seen already. In the same way
that occurs in other audio-visuals like in Mr
President, The Condor System, Evanescer,
I Want to Have a Million Friends or The
Global Village.

Her paintings represent more political
sense, they are showing situations in which
she experimented live, or taken out of the
news developing an aesthetically refined
and concise narrative. I would say that
she intends to create a beautiful work,
aesthetically speaking, and using it as a net
to catch us, and when we realize we get
involved and trapped in the history already
from where she requires our commitment.
This is precisely, why I think that her work
is a social construct because it comes from
herself to take us to her plane, which is none
other than our own, as we can see it very
well in the work Feet Work on The Ground,
where the public had to advance through the
room dodging areas with projected images
extracted from the news and internet. A
beautiful metaphor of how we should question
this bombardment of information that harasses
us every day and, most importantly, that it
does not allows us to reflect on what we are
told, or leave us time to process it.

Ultimately, and to sum up a careful approach
of the work of Angie Bonino, and not only to
her role as a creator, but also a researcher
and a curator, we can discovered a woman
committed to her ideas, convinced of the
effectiveness of the work of culture as one
of the possible ways to change the world
in which we live, and if not changing it
completely, at least offering other possible
alternatives.

Borges in his Universal History of infamy
creates the evidence that the narrative plot
that constitutes the historical story is a mix
of woven yarns: revenge, mistrust, and
miserliness. Iniquity and conspiracy seem
to form an inaugural moment of modernity
where humanism and libertarian ideals seem
to be just a screen, a cosmetic exercise whose
precarious make-up occurs quickly. Thomas
Hobbes statement affirms that ”man is wolf to
man” could work as an epigraph of Western
civilizations of last centuries. The banality
of evil expands and contracts in concentric
circles ranging from political leaders, mafias,
economic disputes to labour, domestic
violence or neighbourhood. None of this is
new.
What is exceptional about our time is perhaps
the effrontery with which evil is represented.
Information, as ever in history, became
accessible - at least a part of it-, but at the
same time turned into fable, and perverse
caricature.

At the same time, counter-information devices
are multiplying despite barriers of control
or supervision of social networks. Would
that set us free from evil? Perhaps not,
although suspicion has become an every day
obsession; for lots of people like a masochist
pastime, for others like a profitable business.
We suspect the powerful, but also the
informer; We despise the ignorant, but at the
same time we get tired of the mistrustful, who
go on reading the latest conspiracy theories
that appear through the beautiful and hypnotic
displays of our smartphones and tablets.

Perhaps against it Bonino, with an exercise
of a tremendous honesty would update the
suspicion and the representation of evil
from the intimacy and closeness of the basic
materiality of artistic works: pencil, paper,
ink, and paint are the ingredients to convert
into iconic prints which the press banalises.
On the other hand, she also connects this kind
of art rescuing drawing as a craft practice
of police documents. This accompanies the
monochrome artwork, similar to the oral
proceedings of executions - that we all know
from the police movies - with the layout of
diagrams and conceptual maps that allow the
development of criminal investigations.

that encouraged the work of the first modern
artists of the twentieth century who saw artistic
practice as something more, than just a
solipsistic exercise, contemplative, decorative
or metalinguistic. Her drawings and diagrams
represent in a kind of critical and ritualistic
way the social involvement, interference and
social awareness of meanders of the evil of
today and boundaries between fiction and
crime.

Angie Bonino’s last series Following the
clues of a crime, relates some of the most
etymologically political figures of the 20th
Century. Her work gathers the video archives
of Martin Luther King, Omar Torrijos, John
FitzGerald Kennedy, Jaime Roldós and
Salvador Ayende, last speeches bravely
performed before getting killed. Impeccable
dialect projecting into unexplored horizons;
dreams of justice, etched into minds, unable
to be destroyed by the greedy cowards who
stopped the lips that the words first departed
from. Emancipated speakers made the word an
art by balancing content, form and emotion.
Timeless speeches tackle latent obstacles in the
path of progress and evolution. With sharp
common sense, the words of these visionaries
intuitively designated a fairer future.
Knowledge will make us free. It is disturbing
to watch and hear together such instigators
of unavoidable events, smashed down by
the weight of their words. But the job was
done. Their ideas flow freely and our ears
listened them. Nothing was exactly the same
again. And the ship, sooner or later, took us
to the shore of resonating truth. It is history,
clumsy, slow, full of obstacles, but thanks to
those that light up the path, we transit it. This
is a valuable exercise reflecting the power
of words in the history of our civilization.
An apology to inspiration, that invention so
empathic that shake us, calling up everything
we share beyond us and is intimately ours.
The most needed consider inspiration as
divine providence, the cynics as prophecy,
but fascinates all on observation of its ability
to melt boundaries and get together the most
distant universes. Current pseudo politics are
often confident that the illiterate strategies of
an increasingly poor public education, have
already worked, so they can cheat the public
with a childish, repetitive and ordinary rhetoric.
Their actions are carefully programmed
towards a massive lethargic target, as
described in any marketing handbook,
broadcasting canned speeches; subjective
arguments with a subtle recycling of dogmatic
values. Among this outcry to the basic levels
of intelligence, it is an essential moment to
remember those who cared, for the other, for
society, for civilization and for the habitat.
We must not forget that they existed as much
as they exist today, they are among us, are
part of us, and are us, in every reflection,
every decision, every move and every word.
The project follows up with the detective
approach of the show with other works in

various mediums. Through her trichromatic
acrylic paintings, in black, white and red, the
artist time travels suddenly transporting us to
the present. Highlighting with sagacity some
of the personages and scenarios participating
in the battle that, behind press and public,
is currently being fought. Disclosing possible
crime scenes, such as the virtual Wikileaks
and the very tangible Wall Street, along with
figures like Julian Assange gagged with the
American flag or the Greek police maintaining
“order”. Bonino leaves the paintings unfinished,
showing the sense of urgency involved in the
investigation process by leaving the case open.
Finally, through a number of drawings
included in the selection, the artist presents
her own thesis, with pen and marker. In an
effort to reveal covered realities, Bonino
proceeds with an exhausting analysis in the
relaying mechanisms of the corporatocracy
that moves the strings of our daily life.
These drawings, with the same process and
aesthetic of mnemonic drawings used in
criminology investigations, form a hypothesis
of macroeconomic strategies and large-scale
interests being responsible of the international
political-economic-energetic system of today.
All things considered, Angie has provided
us with found clues of sublime unfolding
agendas, alerting the spectator and making us
undeniable witness of the New World Order.

It is in the context of the avant-garde, that
art is dissociated from liberalism, with
Baudelaire1 as the first one who noticed a new
definition of artist treated as a special agent,
a spy in enemy territory, whose mission is to
build a plot capable of breaking the canons
and established traditions giving way to new
values. In our contemporary times, we come
back to this in order to get close to the work
of Angie Bonino (1974, Lima) in its latest
stage, understood as a kind of cipher strategy
(and kilter) of those clues that reveal the traces
of this “great crime”, that is not other than our
current model of society.
According to the conspiracy theory, all is
grounded in a paradigm created with the
basic aim of ensuring control to a dominant
political class, understood in the broadest
sense since it does not relate exclusively to
the rulers, but an elite that exceed economic
supremacy, thus dominating the political,
cultural values that should host a community
and controlling from the basic structure
of its ideology, its traditions, its moral
and aspirational tendencies. Thus, these
parameters are introduced it in the collective
imagination unconsciously being assimilated
in such a way that we live as natural and not
as the result of what we are encouraged to
learn.

Bonino is interested in modifying that
“common sense”, that dominant stable placepostulated by what Benjamin called “the
invisible committee” - intervening the space of
consensus from an idea of plot in which the
value is not a internal, immanent, but rather a
series of previous social frames over which the
artist must made the intervention. Known the
arbitrary nature of values, the struggle (state
of emergency) consists in creating another
intrigue, a new horizon of meaning able to
light up another latent reality. A new plot
against the predetermined plot.
Through its meta-representative methodology
consisting essentially of the “track record”,
Bonino addresses these new constructions of
meaning from a semiotic perspective, which
peculiarity responds to the question:
“Why and how in a given society somethingan image, a set of words, a gesture, an
object, behavior, etc -. means?”2
In her chase, the artist collects documentation
which plays the role of the witness of our time
(magazine clippings, fragments of internet
videos or images) and represent a footprint,
a bankruptcy of the story set. Through the
exercise of re-ordering of this material and
artistic manipulation, Bonino re-builds the case
giving a new meaning to it, a new reality is
discovered.
Typically, a document can be anything
that serves to illustrate or prove something.
This definition points to the fact that the
document (especially the photo) is a perfect
combination of illustration and proof, or
mutation in the illustrative test. We updated
a past time. Tha document is the meeting
point od distance and consistency of reality.
It is in its innermost definition the rank of
an evidentiary authority. However, our
contemporary experience with mass media
enable us to unmask the radical falsification
of reality that favors this mechanism. This
suspicion on mediation systems that inform
(of) reality, began turned into a questioned
issue since the ‘60s, in which retransmission
of major armed clashes or proliferation
snapshot mutated in horror fetishes and
cultural emblems, what demanded an urgent
review of the codes, whether visual or ethics.
Thus, the difficulties in detecting these forms
of absorption of discursive language and
ideology by the image triggered in the late
60s and in later decades, a whole new
critical tradition.3

The traces that the conspirator forget to
delete in the crime scene are the documents,
properly understood as artpieces of first-order
representation that make a documentation
file of facts, that the artist brings in research
to re-build and re-configure the “original”
meaning of the event or case, finding now a
performance of “second order” but that has
the same ontological value as the first one. As
Baudrillard would say, we are faced with the
simulacrum of the simulacrum, an idea that the
artist herself confirms in her following words:
“In my work I’m not interested in plunging
into mimesis, I do not represent reality as it is,
making a copy of it through art, since it is a
fictional reality, is the fact they are doing us
believe as true, constituted by facts, events,
directed, manipulated events. In this case if
you just make a copy of “reality”, it would be
like building a mirror of lies. “4
Bonino recreates a huge bible of corruption
and clandestine interconnections between
corporations, political organizations and a
variety of international institutions, mixed in
an explosive cocktail that makes it reappear
in the form of policies cosmographies whose
images and ideas are materialized in diverse
supports transiting the classic formats like
drawing or painting to photography, video,
performance, installation or net art, and
whose substantial attributes of each medium
are used as channels of transmission of the
last concept, a New Contemporary Narration.

The success that many women have obtained
in the video art in comparison to other forms
of art such as the painting, sculpture or,
inclusively, the photography is well known.
The primigenious works of Rebecca Horn, Lynn
Hershman or Marina Abramovic can give to
faith of the participation of feminine artists
in average exhibitions art is it an additional
sample of the acceptance space that has
gained in the world of the established art the
culture of the video to be today fundamental
part of the culture mainstream.

As is mentioned by Ulrike Rosenbach “video is
not burdened with a long art history in which
criteria of quality were determined by men
for centuries and almost without exemption.
It offers us a blank sheet, unburdened and
relatively free of formative judgments; a wide
open field is available to
experiment”.1

Although Bonino belongs to the same
generation of young Peruvian producers who
experiment in video, her work has a subtle
particularity, because we noticed that it is
impossible to define it without mentioning
three related fields: the video, the action and
the space. I believe that it is fundamental to
divide in these three areas the works that
Angie Bonino has made from its beginnings,
and to warn the reader that although can
seem diverse and dynamic, the work in several
fields, that is to say, the non specialization,
can tend in many cases to the triviality in
the content of the contemporary artistic
production; nevertheless, in the case of the
work of Bonino, we cannot let affirm that
in these three fields she has demisted with
enough success, mainly, by means of the use
of the technology and the video as central axis
in her multidisciplinary work.

The first referring of the work of Bonino that I
remember was presented in the House Museum
Jose Carlos Mariátegui as part of the Group
“Los de Lima”3. The work, although did not
contain video, showed a series of sculptures
of painted tubes of television set in blue and
red color, which refers us by its evident critic
to the media, to the Fluxus movement (Paikian
connection). The dissolution of the narrative

element by the abstraction, brought with a
reaction opposed towards the linear processes,
but that got to locate it in a state of historical
obsolescence. The modern language post of
the media art represents a visual expression
that becomes discursive at the most use of this.
In line with that reason, the works of Angie
Bonino are conceptual concretization that
thanks to their simpleness, and in many cases,
to their brief duration, offers a forcefulness
mediatic-vision of easy understanding. Without
this main conceptual component (previous to
the production of the work) they could be seen
like banal works or mere games of children.
The language that uses in her videos can be
considered universal; she uses global codes
and texts in more than a language (not only
the English) that try to contribute, within a
general panorama, a certain total character.
The initial videos of Angie Bonino were
characterized by a stage of identified
fluorescent colors with the publicity of
certain popular celebrations as well as with
announcements of public supply routes (mainly
public transportations know as combis).
These chicha colors (chicha is a corn made
beverage, but the term is also used to define
the cultural development of the city and its
people) reflect a transcultural phenomenon of
modern Lima, and are a characteristic of visual
elements (symbols) appropriate by the settlers
of provinces that migrated to the capital
andwhich were located mainly in the conos
(the North and South zones of Lima).
The use of this aesthetic data from her
exhibition “Esquemas” (1995), where already
the use of this simbology in objects, videos
and performances was seen. She continued
this series of projects with the exhibition
“Retrospectiva de Relleno Plástico” (1998)
where she related the video to other elements
such as drawn images, that served as linen
cloth to generate the movement in the video
and that gave to the sample a multimedia
facet.
Following this line of work she makes the
video “No video” (1999), an answer to the
video and its images, using simply the word
“NO” in different visual contexts. The work
can seem quite simple; nevertheless, thanks to
the composition of the images and the sound,
she manages to give each monosyllable a
certain attitude. She continues with “Mr.
President” (2000), video that uses the
animated image like critic and satire around

the visual simbology of the political power of
an executive agent. The video finalizes with an
animation of a feminine figure leaving a pie
with the locution in off of the classic “Happy
birthday, Mr. President” of Marylin Monroe.
On the base of the visual symbols and
transcultural processes, Angie Bonino
also made two installations that are worth
mentioning:
By a side, in the collective exhibition “Johnny
se vende - documentos e imágenes sobre
Gamarra” (Centro Cultura de España, 1999)
the main visual element is an image that is
repeated as much in the objects as in the
video, which has a semi-human form and was
denominated by Angie like “Gamarrito”. The
video exhibits a collage of objects and spaces
in Gamarra, that in some cases are taken
part and painted and by where freely moves
“Gamarrito”. The visual impact of this sample
resides in the use of the fluorescent colors
impregnated in the objects and the relation
of these (hang clothes and lengths vertical
outlines of textiles) with the work in video.
Video “L-51” presented initially as a videoinstallation within the exhibition “Bitácoras-Por
aquí pasamos” (Centro Cultural de España,
2000) uses as a metaphor the concept of the
trip to decipher the migratory displacement
and the exile within the space. Different types
of personalities confront the public with the
sensations and anguishes of the interminable
search of the identity, also gathering the
change concept with no need to give category
of trip without a displacement in the space.
Another work in the same direction, and
possibly the most emblematic, is “La Imagen”
(2000/2001). Although with this video it
dismisses a stage defined by the aesthetic
use of the fluorescent one, in visual terms the
work shows the same aesthetic image, one
of a group of soldiers on a tank military, with
different applications from digital effects.
These images put in with the phrase “the
image” in diverse languages. The quiet image
suddenly transforms into movement showing a
crude sequence of the Marcha de los Cuatro
Suyos in Lima (great pacific march against
the Fujimorista regime). The work alludes
that certain images are independent of the
language, although it could be circumscribed
of some form to the thematic of the war, not
only to the war of images, but to the war or
the terrorism in the present surroundings.

One of the latest short video works ,“The Line”
(2001), explains visually how a line (with the
value of 1) goes on repeating itself based
on the function of Fibonacci, algorithm that
implements by a recursive and iterative way a
given number, resulting with a mathematical
maximization, which could be related to the
complexity of forms of nature. This work also
puts us into question wether the universe,
depending on the amount of matter it contains,
will continue to expand or reach a point of
contraction, signing an eternal cycle of birth
and collapse, where the matter our planet
contains, would reproduce itself and die
eternally up to start a new cycle.
All these videos are a demonstration of acts
non-made in the reality but in the image in
movement, but that is bound to the field of the
action, possibly because Angie Bonino always
was an artist it jeopardize with the political
and social problems. It is important to mention
this, because in Peru the political events have
been seen mainly in a television set screen
and many creators have not taken advantage
of this mediatic component for artistic
projects. In this sense “El Objeto encontrado”
(2000) represents a mediatic observation of
second order in where the mediatic culture
(televising) is exposed for the analysis in
the purest sense of an element or object
“ready-made”. In this form, as Peter Weibel
mentions, the observation of which happens
in the world offer us a way to also observe
the communication process. Although at the
present time the experimental phenomena
have been revival by the video, these were
advance in the historical movements of
vanguard like the theater, literature or music.
Perhaps a particularity of the works of
Angie Bonino from its beginning was its
preoccupation for the sound, that possibly
encouraged her, in a country without memory,
to worried in recovering hours of recordings of
Arturo Ruiz del Pozo, one of the first Peruvian
electroacustic composers. Is unnecessary to
categorize the work of Bonino, as it turns
out unnecessary to categorized video art,
but on the terminology I believe that we can
make an interesting analysis in relation to
the average art at the present time. To the
last salary the video to be considered like
part of the established art, I believe that him
art can be denominated simply to this sort. I
do not believe that neither electronic art nor
digital art are definitive terms, but terms of
transition, until the world happens through a

greater digitalization in human contexts, that
is to say, at level of our scale (then at level of
nano-scales the discrete component tends to
be considered digital). But the average art has
an attractive component that yes is good for
indicating and that in the case of the work of
Angie Bonino it is fundamental: it congregates
disciplines related to the strictly artistic ones,
as it can be the architecture, the sound, the
experience kinematics,etc.
Angie Bonino makes use of different means to
obtain non-single its action but the one of the
public. Works such as “Feet on the ground”
(2000) they are a good example of the
intention that the watching public also
participates like social subject. The people
participate in this project entering to a quarter
where they will have to break through towards
the exit through 30 disordered pneumatic
spheres in the space. These spheres receive
the projection of images of video extracted
of the TV and the Internet. But non-single
we analyze the spheres like mere balloons
then in spite of his lightness they are visually
heavy. This work questions the free supply of
information, decontextualized and alienated,
which we are put under within the framework
global of interconnection; in addition, when
being the superposed projections creates
“noise” in the information. We can also
allude free and metaphorically to the mediatic
spheres that the French writer Regis Debray
mentions. According to Debray three stages in
the transmission technology exist: Logo sphere
(writing, technology, kingdoms); Grapho
sphere (ideologies, the presses, nations, laws);
and, Video sphere (sound, images, opinions,
individuals).
In the work “No Logo”(2001) we cannot
notice with clarity the use of the image and the
action. It was a series of eight performances
where done by artists from different parts of
the world (Argentina, Peru, France, England,
Slovenia and Spain) using the Internet to
demonstrate and denounce the everyday
dominance and exploitation. The eight artistic
images took the shape of a “digital fresco” as
were mixed up in a screen. Every 2 minutes
artists put forward their own point of view and
commitment defined by a specific framework
of 15 keywords. In the Peruvian case, this
project had an additional meaning, because
it was the first electronic art project with the
use of the Internet as a transmission mean
of images in real time done in Peru. On the
other side, it is symbolic since the space used

for this purpose was the Peruvian Scientific
Network, the organization that initiated the
development of the Internet in Peru in 1991.
On the other hand, it has made collaborative
works like “Villa” (2002), video made by
a group of artists and directed by Bonino
where it evokes to experimental documentary
way of the track of Maria Helena Moyano,
an active social fighter of the town of Villa El
Salvador, and the flow of the modernity of a
district created by its own settlers. Although
this work does not define much the aesthetic
and conceptual line that Bonino has made
inprevious works, reaffirms its interest in the
social thematic.
Its also worth to mention the documentary
“Sobre tus ojos” (2002) that denounces the
committed atrocities so much at ecological
level as social in the city of Marcona by the
mining company Shougang Hierro-Peru. On
the subject of the mining, also we see little
taken advantage of that it has been in the
visual arts, in spite of being the mining the
main source of resources of Peru. We see
that in the case of electronic arts such as
video, the creative innovations done in the
last decade in Latin America offers a different
vision, which we can intend to define in terms
of a new look. Latin American Video Art has
advanced to occupy an important place in the
contemporary visual arts mainstream by using
what is referred as “international post-modern
language”, and had been presented by artists
in such a way that is not necessarily “foreign”
or “folkloristic”. The universality of video art
has a lot to do with its media and it¹s recent
stage of development. Nowadays creators
all over the world are exposed to global
information, and in this respect artists from
Latin America receive the same information
that a person in any other part of the globe
can get to create their own local perspectives.4
Recently, altogether with a group of theoretical
and Latin American artists Bonino it makes the
project “Vectorial Connection” interchange
that unites by means of bi-personal exhibitions
digital works of artists whose topic is the
subject of the identity. The first encounter was
carried out in Lima (2002) between Angie
Bonino and Teresa Puppo (Uruguay) and
included a work of performance of Angie
by means of a series of common stocks like
jumping, eating, etc; and a performance
where it is hung of the four extremities in the
style of Túpac Amaru, trying with it to purify
the concept of Latin American identity.

For that reason, the image of the works of
Bonino is influenced by an acceleration of the
reality and the comparison of patterns, without
it happens necessarily through aesthetic of the
video the paper clip, but having communicated
dynamic forms that approach the culture at
medial level in a dynamic relation of change
and perception. Its revaloration of the symbols
towards a internationalism is against to the
tradition without stopping being critical to its
local context. This cosmopolitan ethnography
o which the contemporary creation makes
reference and of which Bonino is a ocal
exponent, offers a new definition of which
we understand by culture that accepts the
challenge to the change.
There are not many women who work in
video, although the number is in increase, the
work of Angie in the search of an identity by
means of the use of the video, does not ask
much for histories, immediately by the futurists
constructions.

All parts of this book arise from the evidences
which compose a documentation file, compiled
and configured to reconstruct the facts of this
case. A case that can not be closed until it
reaches the most culpable of that criminal
act that has been coming to happen: the
domination of mankind carried out through
manipulation, control, speculation, extortion
and debt in political and economical terms.
There are not many, only a few people who
direct this, with countless complicit agents who
receive privileges, but they are only privileged
slaves in this world of slavery on levels, led by
so few.
So far, what is presented is what was approved
of the research, while continuing to stockpile
evidences, but the questionsremain: Who are
those few who run everything? What is the true
and complete plan designed for their purposes?
How are the mechanisms at play articulated in
this great crime?
I use the work and resources that offer
criminology and criminalistics. The first helps
me to know what is the cause of the offense
and the second brings me closer to who and
how. The answers to these questions are the
key components to solve the case.

I hope one day to
reach the conclusions
in detail and point
out the guilty with the
respective evidences
to solve this case and
so we can say: we
are truly free,
“The case is closed.”

Video art and
animation, in single
and multichannel
projection, and
objects.
These works are made
with historical records
of audiovisual media
together with records
captured by the artist,
involving animation
and graphics records
chosen to be key
players in the case.

Drawings that collect
images from print
media documentation,
part of the tracking
and reconstruction
of events.The valued
lines and red areas
serve as demarcation
of focal points to
investigate (spaces,
subjects, elements or
objects).

3th Privatization of state
They can to sitúate the companies of State in the corporatocracy
hands. Being on the side of monopoly.
4th Trade Liberalization and economic opening
They relax all restrictions realted of foreign trade. As a result
people can´t be competitive with foreign products whose prices
are cheaper these some home -produced .

EMPERORS:
· Clandestine
· Operated by unlimited period
· Not justified to anyone
· They are not democratically elected
· Therefore, a president can not be emperor.
CORPORATOCRACY
· Structure and lead the global economy functions
· Financing political capaigns

The strategy of distraction
Create problems then offer solutions
The gradual strategy
The strategy of deferring
Go to the public as a little child
Use the emotional side more tan the reflection.
Keep the public in ignorance and mediocrity
To encourage the public to be complacent with mediocrity
Self-blame Strengthen
Getting to know the individuals better than they know themselves

Angie Bonino is the first woman dedicated
to New Media in Peru. Her work is
multidisciplinary, uses audiovisual,
performance art, installation, and the Internet
platform. Graphic designer, conservative of
arts with new technologies and also artist of
Fine Arts of Peru, she got her Master Degree
in Interactive Systems for Audiovisuals at
“Mecad” - Ramon Llull University in Barcelona,
Spain in 2005, Master’s degree in Computer
Security “LAMP” - Systems for Free Software,
European Community Grant- 2006-2007.

As an artist has made various solo and
collective exhibitions in several Museums,
Institutions and Galleries in Asia, Oceania,
America and Europe. In 2012 has received
a tribute to her career, in the Filmoteca of
Andalucía - Spain and one monograph in the
Museum of Qorikancha in Cusco, Peru. Her
last solo exhibition took place in Homesession Barcelona, Spain 2013.

Olivier Collet and Jérôme Lefaure are the
founders and managers of the residency and
grant project Homesession. Having trained
respectively with a Master at Paris-La Seine
School of Architecture and a Master in Political
Sciences at Sciences Po Paris, they joined
their shared interest in contemporary art into
common projects, the formats of which are
a real declaration of intent. They created
Homesession in 2007, first as an experiment
and then as the main focus of their cultural
activity. They’ve extended their collaboration
towards other curatorial projects, with
exhibitions sucha as “2+1: Joao Torres” (Can
Felipa Barcelona, 2009), “The japanese, the
goldfinch and the table” (A*Desk Barcelona,
2011), and video art programmes such as
“Bringing privacy out” (Loop Festival Barcelona
2010) and “The sound and music” (Videoakt,
Berlin 2012).

Pietrasanta, Italy, 1977. She is currently in the
PhD program in History of Art at UB University,
and previously completed her Masters in
Curatorial and Cultural Practices in Art and
New Media at ESDI and Ramón Llull University
organized by MECAD, Media Centre of
Art and Design (Barcelona). Graduated in
Aesthetic Philosophy and Contemporary Art
Theory, from Pisa University (Italy) with a thesis
on Jean Luc Nancy, Body Philosophy and its
Relations with Body Art, Performance and
Technological Aesthetics. Collaborate with the
Research Group AGG. Global Art Archive and
AGI. Art, Globalization and Interculturality,
directed by Anna Maria Guasch. Funder and
curator of LiminalB | Interdisciplinary Art and
International Internship since 2006. The same
year along with seven other artists from around
the world, she created the winning selection of
the Disonancias06, international competition
(San Sebastian). Jury of FIVA I and II in 2011
and 2013 (Buenos Aires). She collaborated
with internationally known important institutions
and early she start to work as an independent
curator. Matelli has curated various video
selections and exhibitions, taking part of
international events.

(1973, Chile). She lives and works in
Barcelona. Journalist, she got her degree in
Aesthetics (Catholic University), Master in
Curating Art and New Media (Ramon Llull
University), doctoral candidate in Advanced
Studies in Artistic Productions at the University
of Barcelona. Works as Professor, researcher
and independent curator. She has prepared
exhibits for the Video and New Media Biennial
at the National Museum of Fine Arts (Santiago,
Chile), L’estruch (Sabadell), Drapart Festival
at the CCCB (Barcelona), and CINUSP (Sao
Paulo), among others.

Silvia Alvarez (Málaga - Spain) is cultural
researcher, independent curator and art
critic. She has worked as a cultural manager
and curator of international exhibitions and
prestigious cultural institutions as CAC and
Picasso Foundation in Málaga. She has worked
in the programming department of international
film festivals. She is also an art critic for various
digital and printed publications. Currently,
she is working on his Ph.D. in Contemporary
Art and New Media from the University of
Barcelona. The project is part of the activity of
the research group “Art, architecture i digital
societat” funded by the MICINN.

Scientist and theorist in New Media. He
studied Biology and Applied Mathematics
at the Peruvian University Cayetano Heredia
(Lima) and got his Master’s Degree in
Information Systems at the London School of
Economics - LSE (London), where he currently is
a PhD candidate and researches the growth of
information in the media of industry.

Founder of High Andean Technology – ATA,
dedicated to the development of projects in
art, science and technology in Latin America
and at Escuelab an advanced anti-disciplinary
project of education, innovation and research.
Curator of exhibitions of art and technology
at international level, recently: “Videography
In(visibles)”, “Emergentes”; “VideoXXI –
Lemaitre Collection”

Member of the National Cultural Commission
of the Government of Peru and the Cultural
Ministry (2001-2002 \/ 2010-2011 \/ 20122013). Member of the Committee Network of
Prince Claus Fund, Holland (2008-2014). He
was member of the Advisory Council of Third
Text (2007-2012) and Managing Editor of
Third Text.